Trio - Simon Donalson, mandolin; Fay Guiffo, violin; Gillan Massey, flute.
Willy: ‘Funny, y’know? After all the highways, and the trains, and the appointments, and the years, you end up worth more dead than alive’.
The narrative follows the final 24 hours of Willy Loman’s life, a travelling salesman in his late sixties, filled with his memories, dreams and strong belief that ambition is still the key to success. Originally a short story which Arthur Miller wrote aged just 17 when he worked for his father’s company, it’s based on an actual salesman who sells nothing, is badly treated by the buyers and has to borrow his subway fare, finally realising his career is over.
This heartbreaking drama set in 1949, follows themes of the American Dream, a land of the free where everyone can achieve a better life through hard work and determination, but where failure is the price of chasing a false ideal.
To a plaintive tune on the flute in shadowy twilight, Willy Loman unexpectedly arrives home to his wife, Linda and two grown up sons, Happy and Biff, as he is due to be in Boston this week. It’s late and Willy seems exhausted from a long drive, and admits that he kept falling asleep at the wheel. After several decades on the road, he’s deeply frustrated with the lack of financial reward at this stage in his career. His despondent mood is not helped when Linda reminds him of all the bills due to pay for the car, fridge, the roof, insurance, mortgage. Life on the never, never. Meanwhile, in their bedroom, Happy and Biff are discussing their respective jobs, struggling to be successful, find a girl, settle down.
The economical set design has a timber wicket fence and flexible performance space. The backdrop features two tall elm trees as a reminder of the spring time of Willy’s life, as he romanticises his rosy, idyllic past. Through a non-linear timeline, he recalls in flashback scenes, happier times when the boys were teenage kids, playing ball together in the backyard. His elder, long lost brother Ben is also a haunting figure who made a fortune in Africa and Alaska. “The jungle is dark but full of diamonds, Willy.” But despite his wealth, Ben has never wanted to help his brother or his family.
As a salesman, Willy has always been travelling but never really arrived at the right place. Now he cannot face the truth of his situation, only working on commission, but promises Linda he'll ask his employer for an office job in New York. Biff wants to gain his father’s respect and plans to develop a sportswear career, but Willy’s inflated confidence (‘ask for $15 grand a year’), is all part of his delusional vision of real life.
With quiet composure, David Hayman portrays the complex, double-edged personality of Willy Loman, switching from self-assured brashness to holding his head in his hands with dark despair. He is a lost, fearful man with a quick temper brusquely shouting down anyone – his wife, sons, friend & neighbour, Charley - who get in the way of his dreams. He tries to reason with his boss, Howard, ‘You can't eat the orange and throw the peel away - a man is not a piece of fruit.”
As Willy's mental state deteriorates, he struggles to distinguish between the present and the past, as his memories and reality blur. Linda - (played with such gentle warmth by Beth Marshall) - tries to comfort him and as the boys grow more disillusioned by his failure, lies and deceit, she advises, ‘Be loving to him. Because he’s only a little boat looking for a harbour.”
Throughout the play, the cast remain at the side of the stage which can be rather distracting, taking their seat after a scene; moving furniture for office and restaurant settings could perhaps be managed more smoothly. A trio - violin, mandolin and flute - create a languid, atmospheric mood, but such a limited performance – in the original production there were 22 minutes of music.
Arthur Miller’s lyrical language is interpreted by Hayman with Shakespearean rhythmic flow. While King Lear portrays a father in conflict with his three daughters, Salesman is a tragedy about a father’s crumbling relationship with his two sons. As a delicately crafted portrait of gradual bewilderment, a wounded heart and final defeat, this is a majestic performance of compassionate insight and emotional intensity.
Biff: He had the wrong dreams. He never knew who he was. A hard-working, unappreciated prince. A good companion. Always for his boys.’.
Showtimes:-
19th – 22nd March, 2025 @ 7.30pm. evening, 2.30pm, matinee
Ticket prices, from £22.50. Discounts and concessions.
Age guidance, 12+
https://www.capitaltheatres.com/whats-on/all-shows/death-of-a-salesman/2424#
On tour
Thu 27th March – Sat 29th March 2025 Lyceum Theatre, Crewe
Tue 1st April – Sat 5th April 2025 New Theatre, Cardiff
Tue 8th April – Sat 12th April 2025 Palace Theatre, Southend
Tue 15th April – Sat 19th April 2025 Gaiety Theatre, Dublin
Tue 22nd April – Sat 26th April 2025 Wycombe Swan Theatre, High Wycombe
Tue 29th April – Sat 3rd May 2025 Fareham LIVE